Cat Eyes
a850+85/1.4ZA @ f/1.7
It's a pity Alpha mount does get neither Oti nor Milvī. I'm quite happy to have an opportunity to shoot with a native 85mm Zeiss prime coupled with an AF, IS and one of the brightest and clearest OVF. Not sure I'd want to trade these features for a higher acutance and lower CA.
I haven't used the C/Y 50/1.7 much since getting the G 45/2, but there's something that's just very recognizable about the 50/1.7's look, both at f/1.7-2 and at ~f/2.8. Lovely lens.
S-Planar 100/4 doing what it does best. I have two boxes of kitchen tiles that were made on commision by a local ceramics artist. Each tile is unique, and I've been exploring ways to bring out the amazing detail in the glaze and the surface contours, photographically. In this shot, I have one studio light deployed and the SP100 @ f/8 with moderate tilt/shift settings:
The level of detail captured by this legendary optic, as attached to a Sony A7ii, is incredible—right down to the pixel.
rico wrote:
S-Planar 100/4 doing what it does best. I have two boxes of kitchen tiles that were made on commision by a local ceramics artist. Each tile is unique, and I've been exploring ways to bring out the amazing detail in the glaze and the surface contours, photographically. In this shot, I have one studio light deployed and the SP100 @ f/8 with moderate tilt/shift settings:
akul wrote:
Toothwalker
That is an amazing shot with great idea. Superb work! Vegetation doesn't look like Scandinavian. Where was it?
This is the Nine Arches Bridge in Sri Lanka. There was only one scheduled train for hours to come, and I was lucky that it was delayed. It came out of the tunnel when dusk was falling, permitting a long (5-s) exposure time while maintaining natural daylight colors. I had only one shot at this, and am lucky that it turned out the way it did.
Here is a another snake with the MP 2/100. It came out to play when I was walking in a dark rain forest (f/2.5 @ ISO 3200).
Silly shot from another thread. SP100/4 C/Y again, this time wide open. Plane of focus is wafer-thin and tilted in a crazy fashion. A7ii was rotated 45° on the rear standard of the Contax bellows. I detect critical sharpness in all that dust.
SP100/4 C/Y and three studio lights. To gain critical focus everywhere, I needed f/16 and tilt/shift. The lights were captured in separate frames and layered in rather unnatural ways:
I have two boxes of kitchen tiles that were made on commision by a local ceramics artist. Each tile is unique, and I've been exploring ways to bring out the amazing detail in the glaze and the surface contours, photographically. In this shot, I have one studio light deployed and the SP100 @ f/8 with moderate tilt/shift settings:
